City: Doncaster

FAMILY CONCERT: THE STORM WHALE

Ensemble 360

Cast, Doncaster
Saturday 25 April 2026, 11.00am

Tickets
from £6.00

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Home› What's on› FAMILY CONCERT: THE STORM WHALE

A brand-new storybook concert, based on the modern classic book series by Benji Davies.

The Storm Whale tells the story of a child, and a whale washed up on the beach,  and friendships that will change their lives forever and echo down the generations. These heart-warming tales of friendship, love and courage are brought to life through music specially written to accompany the book by our Children’s Composer-in-Residence, Paul Rissmann.  

Perfect for 3 to 7 year-olds and their families, this illustrated and narrated storybook concert is brought to Cast with Music in the Round, the producers of previous popular family concerts Izzy Gimzo, Giddy Goat and Sir Scallywag. It is a wonderful introduction to a live concert experience, brimming with wonderful music, memorable songs, images from the book and plenty of chances to join in.

“The Storm Whale tells a simple but powerful story about loneliness and the love between a parent and child… The world may be as big and lonely and incomprehensible as the ocean, but still it’s possible to find tremendous, heart-stopping tenderness.” The New York Times on the book

With many thanks to all our funders, including:

The Sarah Nulty Power of Music Foundation, The JG Graves Charitable Trust, Sheffield Town Trust and Wise Music Foundation

“The musicians did a wonderful job of introducing the young audience to enjoyment of the theatre, live music and engaging story-telling. Proof of their success [were] the lines of excited children coming up to meet the musicians who had gathered in the foyer with their instruments.”

The Yorkshire Post (on a previous Music in the Round storybook concert)

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

THE LARK ASCENDING

Ensemble 360

Cast, Doncaster
Saturday 25 April 2026, 7.15pm

Tickets
from £13

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Home› What's on› THE LARK ASCENDING

HOLST Phantasy String Quartet (10′)
BRITTEN Three Divertimenti for String Quartet (10′)
HOLBROOKE Ellean Shona (4′)
HOWELLS Phantasy String Quartet (13′)
PURCELL Three-part Fantasias (8′)
HOWELLS Rhapsodic Quintet (12′)
VAUGHAN WILLIAMS (arr. Gerigk) The Lark Ascending (15’)

The violin soars melodiously above the rest of the quartet in the gorgeous arrangement of Vaughan Williams’ most popular work The Lark Ascending, which concludes this concert of English music.

Fantasies from the Baroque gems of Purcell’s Three-part Fantasias to Imogen Holst’s Phantasy String Quartet sit alongside this perennial favourite.

Book all four Music in the Round concerts at Cast in the same transaction and save 20% on your tickets!

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

MOZART & BEETHOVEN STRING QUARTETS

Ensemble 360

Cast, Doncaster
Saturday 21 February 2026, 7.15pm

Tickets from £13

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String players of Ensemble 360
Home› What's on› MOZART & BEETHOVEN STRING QUARTETS

BRITTEN Three Divertimenti for String Quartet (10’) 
MOZART String Quartet No.20 in D ‘Hoffmeister’ (26’) 
BEETHOVEN String Quartet Op.59 No.2 ‘Razumovsky’ (37’)  

A passionate tour through three centuries of extraordinary music with the string quartet of Ensemble 360.

Britten’s playful and inventive Three Divertimenti is followed by Mozart’s radiant ‘Hoffmeister’ Quartet, blending grace and sophistication. The evening concludes with Beethoven’s fiery second ‘Razumovsky’ Quartet, a work of thrilling intensity and deep passion. 

Performed with warmth and exhilarating energy, this programme showcases the expressive power of the string quartet. 

Book all four Music in the Round concerts at Cast in the same transaction and save 20% on your tickets!

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

CLOSE-UP FAMILY CONCERT: MUSIC FOR CURIOUS YOUNG MINDS

Ensemble 360

Cast, Doncaster
Saturday 21 February 2026, 11.00am

Tickets
from £6.50

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Home› What's on› CLOSE-UP FAMILY CONCERT: MUSIC FOR CURIOUS YOUNG MINDS

A lively family concert featuring four string musicians (violins, viola and cello) and a presenter. Together they breathe life into the wondrous world of chamber music.

They’ll play well-known classical favourites from Beethoven, Mozart, Schubert and more.

Perfect for 7-11-year-olds, this lively, interactive concert is a great introduction to classical music, and a chance for those who’ve enjoyed our storybook concerts to delve a little deeper.

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

JASDEEP SINGH DEGUN sitar

Jasdeep Singh Degun & Gurdain Rayatt

Cast, Doncaster
Thursday 13 November 2025, 7.15pm

Tickets from £13

Past Event
Home› What's on› JASDEEP SINGH DEGUN sitar

Jasdeep Singh Degun (sitar) and Gurdain Rayatt (tabla).

Multi-award-winning sitarist Jasdeep Singh Degun has collaborated with musicians from a wide range of musical backgrounds, including Cerys Matthews, Nitin Sawhney, Mel C and as artist-in-residence with Opera North.

This concert sees Jasdeep sharing intimate duets with tabla player Gurdain Rayatt in masterful improvisations rooted in thousands of years of Indian tradition.

Jasdeep is highly regarded as an artist who is continually pushing the versatility of his instrument and reshaping the musical landscape for his peers, and for generations to come. Amid artist residencies and fellowships, an international concert schedule and royal command performances, Jasdeep’s lifelong training in gayaki ang – a lyrical approach to the sitar that mimics the human voice – has remained his anchor and his passion.

Book all four Music in the Round concerts at Cast in the same transaction and save 20% on your tickets!

About the Artists

Jasdeep Singh Degun

Breaking down cultural boundaries with his extraordinary artistry and new approach to composition, virtuoso sitarist, Jasdeep Singh Degun, brings a new energy and vision to both Indian classical and contemporary music. He’s redefining genres and passionate about exposing music from his heritage to audiences across the globe. Learning under the careful guidance of Ustad Dharambir Singh MBE, Jasdeep has performed all over the world in many high profile productions and prestigious venues, including Buckingham Palace, the Amphitheatre in Doha, and Westminster Abbey at the Royal Commonwealth Service 2022 in the presence of the British Royal Family and Prime Minister.

Signed to the prestigious Real World Records, Jasdeep released his much anticipated debut album titled ‘Anomaly‘, working under the guidance of celebrated musician and producer Nitin Sawhney. Jasdeep was announced as Artist-in-Residence at Opera North, and in 2022 he was composer, co-music director and soloist in Opera North and South Asian Arts-uk’s acclaimed opera Orpheus. This production garnered five-star reviews and earned Jasdeep a 2022 Critics’ Circle Music Award for “Outstanding Achievement in Opera”.

Gurdain Rayatt

Gurdain Rayatt (UK) is one of the most exciting and established tabla players in Britain today. Classically trained from the age of just three by his father and grandfather, Gurdain undertook advanced training in India and has performed alongside some of the greats of the Hindustani music tradition, including Anoushka Shankar, Ustad Amjad Ali Khan, Pandit Birju Maharaj and Ustad Shahid Parvez. Outside the classical field, he’s a member of Kefaya (Songlines Magazine Winners in 2017 and 2020) and has collaborated with a range of music genres both at home and abroad. Read more.

MOZART VIOLIN SONATAS

Ensemble 360

Cast, Doncaster
Thursday 2 October 2025, 7.15pm

Tickets from £13

Past Event
Home› What's on› MOZART VIOLIN SONATAS

MOZART Sonata in E minor K304 (12′)
SCHUMANN F-A-E sonata, ‘II. Intermezzo’ (3′)
LUTOSLAWSKI Subito (6′)
SCHUMANN Sonata No.1 in A minor Op.105 (17′)
MOZART Sonata in G K301 (15′)
MESSIAEN Theme and variations (11′)
MOZART Sonata in A K.305 (15′)

Elegant, moving and charming, these gems of chamber music range from the playful and witty to the profound and exquisite. Paired with other works for this most intimate and expressive duo of violin with piano, this delightful programme combines familiar favourites with new discoveries.

Book all four Music in the Round concerts at Cast in the same transaction and save 20% on your tickets!

MOZART Wolfgang Amadeus, Sonata for Violin and Piano in E minor K304

Allegro
Tempo di Menuetto

 

Mozart’s visit to Paris in 1778 – fifteen years after his dazzling first appearance in the city as a child prodigy – was not a success, and the composer was irritated by the apparent indifference of both the musical public and the aristocracy. The highlight of his stay was probably the first performance of the ‘Paris’ Symphony K297 on 18 June. Among the works he composed in Paris was the Violin Sonata in E minor (a key seldom used by Mozart). It has been suggested that the desolate mood of this work – headed “Sonata IV à Paris” in Mozart’s hand on the manuscript – may reflect the tragic illness and death (on 3 July) of Mozart’s mother, who was with him in Paris. While this may be an unduly Romantic interpretation, it is certainly one of Mozart’s bleakest works from this period, and also one of remarkable concentration – in just two movements, the second of which is a melancholy, restrained Minuet in which both players are directed to play sotto voce at several points in the score.

 

Nigel Simeone © 2012

SCHUMANN Robert, F-A-E Sonata, Movement 2

The F-A-E Sonata was created in 1853, as a gift for violinist Joseph Joachim. Written for violin and piano, and made up of four movements, the sonata was actually composed by 3 individuals; Robert Schumann, Johannes Brahams, and Albert Dietrich, who was a pupil of Schumann’s. The three composers had recently befriended the violinist and challenged Joachim to work out who had composed which movement. Schumann was responsible for movements 2 and 4, the 2nd movement being a short Intermezzo. The Sonata’s movements are all based on the musical notes of F, A and E, and are taken from the first letters of Joachim’s adopted motto “Frei aber einsam”, meaning “free, but lonely”. Schumann would later add two more movements to the ones written for Joachim, to make his Violin Sonata No.3 in A minor. The F-A-E Sonata wasn’t published in its entirety until 1935, 82 years after it was first written. 

LUTOSŁAWSKI Witold, Subito

One of Lutosławski’s final works, Subito was commissioned in 1992 by Joseph Gingold for the 1994 Indianapolis International Violin Competition. He had learned to play the violin as a child, something that served him in good stead when composing for strings throughout his life. Lutosławski believed the piece to be a “functional” challenge that would show off a competitor’s virtuosity, with a refrain from the opening bars being used to form four episodes that come together to create a story of violinistic excellence. This commission arrived shortly after Lutosławski was diagnosed with cancer, putting on hold a violin concerto that he had been writing for acclaimed violinist Anne-Sophie Mutter. Fragments of this concerto were only discovered posthumously, making Subito his final published work for violin before his death. 

SCHUMANN Robert, Sonata for Violin and Piano in A minor, Op.105

Mit leidenschaftlichem Ausdruck [With passionate expression]
Allegretto
Lebhaft [Lively]

Schumann often composed in bursts of creative speed, and his Violin Sonata No.1 Op.105 was written in less than a week in September 1851 – starting on his wedding anniversary (12 September) and finishing five days later. Originally he described the work as a ‘Duo for piano and violin’ and it was the first of what Linda Correll Roesner has described as ‘an exceptional group of three chamber works’ written within a couple of months – along with the Piano Trio in G minor Op.110 and the Violin Sonata No.2 Op.121. In his articles, Schumann often wrote about the challenges of musical form for any composer after Beethoven. In this sonata, Schumann uses great economy of means, evident right from the start: the themes of the first movement are based on a limited range of notes, characterised by a falling semitone figure that is heavy with melancholy. The central movement is less anguished – a kind of quirky intermezzo in F major –while the finale is urgent and uncompromising. Near the close, a recollection of the sonata’s opening theme is undermined by the restless, rapid semiquavers that dominate the movement.

The sonata was first played by Joseph von Wasilewski (leader of Schumann’s orchestra in Düsseldorf) and Clara Schumann, at a private run-through on 16 October 1851. The public premiere was given a few months later in Leipzig on 21 March 1852, performed by Ferdinand David with Clara Schumann. Both Clara and Wasilewski recalled playing the piece through for Schumann. According to Clara, ‘I was so restless, I had to try Robert’s new sonata this very day. We played it, and were particularly moved by the very elegiac first movement and the lovely second movement. Only the somewhat less charming third movement caused us some difficulty.’ Wasilewski recalled that ‘on the whole Schumann was satisfied with my performance. Only my playing of the finale failed to please him. We went through it three more times, but Schumann said that he had expected the violin part to have a different effect. I was unable to convey the unyielding, brusque tone of the piece to his satisfaction.’ The finale clearly proved troublesome for both pianist and violinist. Clara’s suggestion that it is ‘less charming’ is puzzling. While the music is indeed brusque (as Wasilewski says) – Schumann resists any hint of easy allure by interrupting its more tender moments with abrupt chords – it is strong and intense, bringing this highly original piece to an impassioned conclusion.

Nigel Simeone ©2014

MOZART Wolfgang Amadeus, Sonata for Violin and Piano in G, K301

Allegretto con spirito 

Allegro 
The G Major Sonata for Violin and Piano is the first of a group of six for piano and violin composed in Mannheim and Paris during the course of the tour undertaken by Mozart and his mother during 1777 and 1778. Mozart seems to have been inspired to write these works after a chance discovery. On October 6, 1777, he wrote a letter to his father about a set of sonatas by the Dresden musician Joseph Schuster (1748–1812): “I send my sister herewith six duets for harpsichord and violin by Schuster, which I have often played here. They are not bad. If I stay on I shall write six myself in the same style, as they are very popular here.” What seems to have struck Mozart about Schuster’s sonatas is the independence of the two instrumental parts – with much more prominent writing for violin than in Mozart’s earlier sonatas for this combination. These six sonatas were published in Paris in as Mozart’s “Opus 1”, dedicated to Maria Elisabeth, Electress of the Palatinate. The first movement is a variant of sonata form (without a significant development of the ideas), and the second suggests a bucolic dance, with a minor-key episode at its centre providing a contrast to the sunnier outer sections. 

 

Nigel Simeone 2013 

MESSIAEN Olivier, Theme and variations

Thème – Modéré 
Variation 1 – Modéré 
Variation 2 – Un peu moins Modére 
Variation 3 – Modéré, avec éclat 
Variation 4 – Vif et passionné 
Variation 5 – Tres modéré 
 

Messian wrote his Theme and variations as a wedding present for his first wife, violinist Claire Delbos in 1932. The first performance of the piece was held at the Cercle Musical de Paris on 22nd November (which also happened to be Delbos’ birthday). Although this was Messiaen’s first piece of chamber music, it is as equally characteristic and emotionally accessible as his most well-known chamber piece, the Quartet for the End of Time. Structurally, Theme and variations is one of more straightforward works, with a tender and lyrical theme that is followed by increasingly animated variations. The use of a classical theme and variation form is unusual in Messiaen’s writing, but the intense slow burn created by the very slow tempo markings creates a fantastical world entirely within keeping of the rapturous individualism that he is known for. 

MOZART Wolfgang Amadeus, Sonata in A, K305

i. Allegro di molto
ii. Andante grazioso 

Sonata in A was inspired by Joseph Schuster’s piano and violin duets, which Mozart first played whilst looking for jobs in Mannheim, Germany. The sonata is made of 2 movements. The first is in sonata form, which follows the structure of introducing a musical idea or ideas, exploring it and then returning to the main themes at the end. It is one of Mozart’s most joyous melodies of all his violin sonatas. The second movement is a theme–and–variation form and completely contrasts with the tone of the first. It has a slower tempo and a much more subdued melody and is followed by six variations on the main theme. Typical of theme-and-variation pieces of the time, the penultimate variation is very stark, and in a minor mode. The set ends with an up-tempo dance and is the only piece of the lot that is in triple metre instead of duple. 

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

CLOSE-UP FAMILY CONCERT: MUSIC FOR CURIOUS YOUNG MINDS

Elinor Moran & Ensemble 360

Cast, Doncaster
Saturday 8 March 2025, 11.00am

Tickets
£11
£6 Under 16s

Past Event
Musicians from Ensemble 360
Home› What's on› CLOSE-UP FAMILY CONCERT: MUSIC FOR CURIOUS YOUNG MINDS

A lively family concert, featuring five wind musicians (flute, clarinet, oboe, bassoon and horn). Together they breathe life into the wondrous world of chamber music.  

They’ll play well-known classical favourites from Britten and Debussy to Haydn and Holst, alongside more recent works such as Anna Meredith’s playful portrait of a moth and Valerie Coleman’s celebratory Kwanza dance.  

Perfect for 7-11 year olds, this is a lively, interactive concert is a great introduction to music, or chance for those who’ve enjoyed our storybook concerts to delve a little deeper.

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Programme:
BRITTEN I. Prologue from Serenade for Tenor, Horn and Strings (1’30) 
HAYDN arr. Parry IV. Rondo-Allegretto from Divertimento No.1 (2’) 
ONSLOW IV. Finale (extract) from Wind Quintet (3’30) 
ARNOLD I. Allegro con brio from ‘Three Shanties’ (2’30)
VAUGHAN WILLIAMS arr. Morton ‘The Vagabond’ from Songs of Travel (3’)
LIGETI III. Allegro grazioso from ‘6 Bagatelles’ (2’30) 
DEBUSSY ‘Syrinx’ (3’) 
BACEWICZ I. Allegro from Quintet for Wind Instruments (3’) 
STRAVINSKY II. from ‘Three Pieces for Solo Clarinet’ (1’) 
HOLST IV. Air and Variations from Wind Quintet (4’) 
DANZI IV. Allegretto from Wind Quintet No.2 (3’) 
MEREDITH  ‘Moth’ from ‘Tripotage Miniatures’ (2’30) 
COLEMAN  Umoja (2’45) 

About the Artists

Elinor Moran

Elinor is in demand as a vocal workshop leader and animateur. She regularly works in learning and participation teams with such companies as ROH, ETO, Opera North, Snape Maltings, Garsington Opera and as far away as The Canadian Children’s Opera Chorus in Toronto.

Elinor has just returned from singing with André Rieu and his Johann Strauss Orchestra as a soloist on a world tour. She was a soloist on a SONY BMG recording “The Best Of Gilbert And Sullivan” which reached the top of the Classical Chart and can be heard on Blossom Street’s new Naxos recording of choral music by female composers “This Day”. Her recent roles include Mimi La Boheme (in the Olivier Award winning OperaUpClose production at the Soho Theatre and Charing Cross Theatre and Tour) and she has been the recipient of a Garsington Opera Chorus Award. 

Elinor studied voice at Chetham’s School Of Music and The Guildhall School of Music and Drama. In 2012 she performed a dance role in Danny Boyle’s Olympic Opening Ceremony but has since put away her hip hop shoes (until the right future opportunity…).

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

FAMILY CONCERT: GIDDY GOAT

Ensemble 360 & Caroline Hallam

Cast, Doncaster
Saturday 16 November 2024, 11.00am

Tickets:
£6 children 
£11 adults
*Box office charges may apply

Past Event
Giddy Goat family concert image
Home› What's on› FAMILY CONCERT: GIDDY GOAT

Based on the colourful children’s book, this family concert tells the story of Giddy, a young mountain goat who is scared of heights. A tale of facing fears and making friends, it’s a brilliant way to introduce children to classical music, with visuals from the book and plenty of chances to join in!

Perfect for 3 – 7 year olds and their families!

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

GUITAR CLASSICS

Craig Ogden

Cast, Doncaster
Thursday 22 May 2025, 7.15pm

Tickets*

£17
£13 (Under 26s)

*Box office charges may apply

Past Event
Home› What's on› GUITAR CLASSICS

 

Craig Ogden is one of the greatest classical guitarists of our time, whose incredible career over three decades has included a stream of best-selling albums, appearances with the world’s finest orchestras and a constant presence on Classic FM, where he’s long been a favourite artist with the station’s listeners.

Programme includes:

VILLA-LOBOS Chôros No.1 (5’)
JS BACH Prelude, Fugue and Allegro BWV998 (13’)
REINHARDT Nuages (3’)
RODRIGO Tres piezas españolas (12’)
ALBENIZ Torre Bermeja, Sevilla (5’)

Book all four concerts in Music in the Round’s 2024/25 /Doncaster season in the same transaction and save 20% on your tickets!

VILLA-LOBOS Heitor, Chôros No.1

About the Artists

Craig Ogden

Described by BBC Music Magazine as “A worthy successor to Julian Bream“, Australian born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of thirteen. In 2004, he became the youngest instrumentalist to receive a Fellowship Award from the Royal Northern College of Music in Manchester. One of the UK’s most recorded guitarists, he has accumulated an acclaimed discography for Chandos, Virgin/EMI, Nimbus, Hyperion, Sony and six chart-topping albums for Classic FM. His most recent recordings are a solo recital disc for Chandos, Craig Ogden in Concert and a new arrangement of the Goldberg Variations by J.S. Bach with violinist David Juritz and cellist Tim Hugh for Nimbus Records.

Read more.

A CELEBRATION OF CZECH MUSIC

Ensemble 360

Cast, Doncaster
Saturday 8 March 2025, 7.15pm

Tickets*

£17
£13 (Under 26s)

*Box office charges may apply

Past Event
Ensemble 360 classical musicians - oboe player Adrian Wilson, horn player Naomi Atherton and clarinet player Robert Plane
Home› What's on› A CELEBRATION OF CZECH MUSIC

REICHA Wind Quintet in E flat Op.88 No.2
HAAS Wind Quintet
BRITTEN Wind Sextet
JANÁČEK Mládí 

Janáček’s beloved Mládí (‘Youth’) was written towards the end of his life as a nostalgic celebration of memories of his youth, drawing on his early writing. Receiving its premiere performances in Autumn 1924, we celebrate the 100th anniversary of this iconic piece for wind, featuring the bass clarinet alongside a regular wind quintet line-up of flute, oboe, clarinet, horn and bassoon.

Book all four concerts in Music in the Round’s 2024/25 /Doncaster season in the same transaction and save 20% on your tickets!

HAAS Pavel, Suite for Oboe & Piano Op.17

Furioso 
Con fuoco. Con moto e poco largamente 
Moderato 
 

Pavel Haas, born in Brno into a Jewish family, was a pupil of Leoš Janáček from 1920 to 1922. Though his music doesn’t imitate that of his great teacher, both composers sought inspiration from Moravian folk song and dance. Janáček once declared that ‘a modern composer has to write what he has truly experienced’, but Haas was to experience more and much worse than most. However, in 1939, when he wrote the Suite for Oboe, he had just been awarded the Smetana Prize for his opera, The Charlatan, first performed at Brno in 1938. The musical language of the Suite, occasionally folk-inspired, sometimes recalling the cadences of Synagogue songs, and notable for its energy and drive, marks out Haas as a composer of real individuality, rugged in the first two movements, and more consoling in the third, rising to a grand climax that has occasional echoes of his great teacher. 

 

Haas was deported to the concentration camp and ghetto at Teresienstadt in 1941 where he met the conductor Karel Ančerl as well as several other Czech Jewish composers such as Gideon Klein (who coaxed Haas back to composition), Hans Krása and Viktor Ullmann. In later years, it was Ančerl who most movingly recalled the appalling circumstances of Haas’s murder after both were transferred to Auschwitz: Ančerl was next in line to be sent to the gas chamber when Haas coughed, thus attracting the attention of the SS Doctor Josef Mengele, who chose to send Haas to his death instead.  

 

Nigel Simeone 2014 

JANÁČEK Leoš, In the Mists

JANÁČEK Leoš, In the Mists 

Janáček inspiration for In the mists probably came from a recital at the Brno Organ School on 28 January 1912 when Marie Dvořáková played Debussy’s Reflets dans l’eau. In the mists certainly shows the influence of Debussy’s Impressionism, though it is also a nostalgic reflection on childhood: Bohumír Štědroň wrote that ‘Here Janáček sees his youth in a mist and remembers the days spent at Hukvaldy’. Janáček made some revisions to the cycle before publication by the Club of the Friends of Art in Brno (to which Janáček belonged) near the end of 1913. According to the title page of this edition, In the mists was given to members of the club as a gift for the year 1913. The first performance took place on 7 December 1913 at Kroměříž, played by Marie Dvořáková. She played it again, on 24 January 1914, at a Brno Organ School concert in the Lužánky Hall when Janáček himself was present. The first known performance in Prague was not until 16 December 1922, given by the pianist Václav Štěpán and the following year Janáček asked Štěpán to help him prepare an edition incorporating his final versions. An inspired combination of Impressionism and musical ideas derived from Moravian folk music, In the mists is in four movements: the first haunting (and occasionally trouble), the second quite free, the third based on a memorable melody heard at the start, and the fourth hints at the flourishes of gypsy music as well as moments of high drama. All four movements are permeated by tenderness and nostalgia, without any hint of sentimentality. 

Nigel Simeone 

HAAS Pavel, Wind Quintet Op.10

Pavel Haas who was born in 1899, was a Jewish composer from Czechoslovakia, who had his promising career tragically cut short when he was killed in Auschwitz in 1944. His music, once forgotten, is gradually gaining recognition, thanks to dedicated efforts by surviving colleagues and scholars. Haas was a student of Leoš Janáček, and his music reflects the influence of Moravian folk tunes and Jewish liturgical music. One of his most significant works, the Wind Quintet (1929), showcases his distinct style, blending rhythmic complexity and folk influences, much like his teacher Janáček’s Mládí.

Written on the eve of the tumult of the 1930s and infused with the bleakness and forboding of the period, it remained largely unknown for decades, with nearly all copies lost during World War II. However, Czech musicologist Lubomír Peduzzi, a former student of Haas, discovered the manuscript in the Moravian Museum in Brno. His 1991 edition of the work has helped the piece find its place alongside other important wind quintets of the interwar period, such as those by Nielsen, Schoenberg, and Hindemith.

The Wind Quintet is a four-movement work characterized by its emotional depth and modal melodies. The first movement, Preludio, begins with a folk-like tune, while the second, Pregheira (“Prayer”), conveys a heartfelt spiritual yearning. The third movement, Ballo Eccentrico, is a lively, quirky dance, and the final movement, rooted in Moravian folk music, ends with an expansive, triumphant chord. Despite its predominantly minor tonality, the work is varied in mood, alternating between seriousness and cheerfulness, much like Janáček’s compositions.

Haas’ music, though overshadowed by the atrocities of the Holocaust, is now recognized as a significant contribution to 20th-century chamber music. His Wind Quintet, in particular, stands as a powerful and original work, blending folk traditions with modern compositional techniques, and is gradually earning its place in the standard repertoire.

JANÁČEK Leoš, Mládí

Janáček composed Mládí in July 1924 (the month of his 70th birthday) at his rural retreat in the village of Hukvaldy. He described it to Kamila Stösslová as ‘a sort of memoir of youth’, and a newspaper article in December 1924 described the programme of the suite as follows: ‘In the first movement, [Janáček] remembers his childhood at school in Hukvaldy, in the second the sad scenes of parting with his mother at the station in Brno, in the third in 1866 as a chorister when the Prussians were in Brno; the concluding movement is a courageous leap into life.’ Intended as a nostalgic evocation of Janáček’s youth (his original title was Mladý život – Young Life) it is a typically quirky and ebullient product of his incredibly productive old age. It was first performed in Brno on 24 October 1924, followed a month later by a performance in Prague. Janáček also heard the work during his only visit to England, at a concert in the Wigmore Hall on 6 May 1926 when it was played by British musicians including Leon Goossens and Aubrey Brain. 

Nigel Simeone © 2011 

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

STRING TRIOS: BEETHOVEN, SCHUBERT & MORE

Ensemble 360

Cast, Doncaster
Saturday 16 November 2024, 7.15pm

Tickets*

£17
£13 (Under 26s)

*Box office charges may apply

Past Event
Home› What's on› STRING TRIOS: BEETHOVEN, SCHUBERT & MORE

SCHUBERT String Trio in B flat D471 (8′)
DOHNÁNYI Serenade for string trip in C Op.10 (21′)
WATKINS String Trio (9′)
BEETHOVEN String Trio No.3 Op.9 (24′)

Ensemble 360 performs works, including those by two of classical music’s most celebrated composers, Beethoven and Schubert, showcasing this versatile and elegant combination of instruments: violin, viola and cello.

Book all four concerts in Music in the Round’s 2024/25 /Doncaster season in the same transaction and save 20% on your tickets!

SCHUBERT Franz, String Trio in B flat D471

Schubert’s String Trio in B flat major was composed in September 1816 and only its first movement survives complete (along with a fragment of a second). His only other venture into the medium of the string trio – a complete four-movement work this time – is in the same key and dates from exactly a year later. The earlier single-movement trio was written when the composer was nineteen years old, and this sunny and assured piece sounds almost like a tribute to Schubert’s great forebears Haydn and Mozart, and probably to Salieri too, with whom Schubert was studying at the time he wrote it. However, this substantial but charming sonata form movement is not an exercise in pastiche: there are several distinctive Schubertian harmonic touches, especially in the central development section.

 

Nigel Simeone © 2011

DOHNÁNYI Ernő, Serenade for String Trio in C Op10

Marcia. Allegro
Romanza. Adagio non troppo
Scherzo. Vivace
Tema con variazioni. Andante con moto
Rondo. Finale

Dohnányi was one of three important composers to emerge from Hungary at the turn of the twentieth century. The other two – Bartók and Kodály – both developed highly individual musical voices, partly through their exploration and study of folk music. Dohnányi, a brilliant pianist as well as a gifted composer, chose a different path. He became an enthusiastic disciple of Brahms (who reciprocated by arranging the Viennese première of Dohnányi’s Piano Quintet Op.1) and subsequently evolved a characteristic late-Romantic harmonic language. The Serenade for String Trio was written in 1902. The choice of instruments was surprising: since Mozart and Beethoven the string trio had been neglected but Dohnányi writes for this ensemble most convincingly. His revival of the form may well have encouraged its rediscovery by composers such as Max Reger and Schoenberg. Dohnányi’s Serenade is in five movements, the first of which is a March. The Romance is lyrical and beautifully crafted for the three instruments, and is followed by a quicksilver Scherzo. In the Theme and Variations, Dohnányi makes sure that each of the three instruments has a fair share of the thematic material and he composes some very resourceful variations. The Finale of this inventive and attractive work is an exuberant Rondo.

 

Nigel Simeone © 2011

WATKINS Huw, String Trio

Huw Watkins was born in Pontypool in South Wales in 1976 and is a pianist and composer. He studied at Chetham’s School of Music, King’s College, Cambridge and the Royal College of Music. This String Trio was commissioned in 2015 for the Nash Ensemble and first performed at Wigmore Hall in March of that year.

BEETHOVEN Ludwig Van, String Trio in C minor Op.9 No.3

1. Allegro von spirito
2. Adagio con espressione
3. Scherzo. Allegro molto e vivace
4. Finale. Presto

 

Beethoven’s three String Trios Op. 9 were finished by March 1798. The C minor trio is the most intense and closely argued of the three. The first movement opens with a hushed idea in octaves, soon followed by a more overtly melodic contrasting theme. Both are used in the terse development section and are heard again in the recapitulation before the movement ends with a stern affirmation of the home key of C minor. For the slow movement, Beethoven turns to C major, though the main theme soon takes a few unexpected harmonic turns, rather in the manner of Beethoven’s mentor Haydn. An early example of Beethoven’s ability to create seemingly endless melody with plenty of dramatic episodes, this movement ends with hushed chords. Back in C minor, the Scherzo is fast and angular, with only a charming major-key Trio section providing a moment of calm, though this uneasy movement ends quietly. The finale is notable for music that has a plain-speaking gruffness, and the whole work is notable for the imagination with which Beethoven writes for the three instruments at his disposal.

 

Nigel Simeone

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players. 

 

BACH FOR SOLO VIOLIN

Ensemble 360

Cast, Doncaster
Saturday 12 October 2024, 7.15pm

Tickets*

£17
£13 (Under 26s)

*Box office charges may apply

Past Event
Classical violinist Benjamin Nabarro from Ensemble 360
Home› What's on› BACH FOR SOLO VIOLIN

A celebration of JS Bach’s much-loved music for solo violin and a chance to enjoy some of the most beautiful works ever written for the instrument.

BACH Sonata No.1 in G minor (18’)
BARTÓK Sonata for solo violin (25′)
BACH Partita No.1 in B minor (28’)

Join Music in the Round for a friendly and welcoming classical concert performed by Ensemble 360‘s brilliant violinist Benjamin Nabarro.

Book all four concerts in Music in the Round’s 2024/25 /Doncaster season in the same transaction and save 20% on your tickets!

BACH J.S., Sonata No.1 for solo violin, BWV 1001

On Bach’s autograph fair copy of the Sonatas and Partitas he calls them ‘Six Solos for violin without bass accompaniment’. They were completed in 1720, the date Bach added beneath his signature on the title page, though it is likely that he had been working on them before then. These magnificent pieces stand as one of the greatest monuments of Baroque instrumental music, but it is worth considering some of the precursors that might have inspired him – all works with which Bach was almost certainly familiar. First, a suite for solo violin without bass and a set of six partitas by Johann Paul von Westhoff (1656–1705), the movements based on dance forms, making extensive use of ‘multiple-stops’ (playing more than one string at the same time) to create the illusion of a solo instrument in dialogue with itself. Westhoff spent his last few years as a violinist at the court in Weimar where Bach met him in 1703, and this encounter may well have given Bach the idea of trying something similar. The unaccompanied Passacaglia which Heinrich Biber (1644–1704) composed as an epilogue to his Rosary Sonatas in about 1676 could well have provided a model (particularly for the Chaconne of the D minor Partita), and Biber’s pupil Johann Joseph Vilsmaÿr (1663–1722) published a set of Six Partitas for solo violin in 1715. In 1717, Vivaldi’s pupil Johann Georg Pisendel (1687–1755) showed Bach his Sonata for solo violin without bass – and later performed Bach’s sonatas and partitas.

The overall design of Bach’s Six Solos alternates Sonatas with Partitas. Each Sonata is in four movements, with a slow opening movement followed by a faster fugue. The finales are characterised by fast, continuous writing full of the kind of kinetic energy that fuels so much of Bach’s music. The third movements are more varied – and each is in a different key from the rest of the sonata. In the First Sonata (in G minor), Bach’s third movement is a gently lilting Siciliano in B flat major. But some of Bach’s most innovative writing in this work is to be found in the fugue (second movement), a marvel of ingenuity which demands from the player a combination of virtuosity and musical insight: Bach was writing here for extremely skilled musicians and may have played the Sonata and Partitas himself (he was a fine violinist as well as a superb keyboard player). There’s a brilliant kind of musical conjuring trick involved in the fugue: the violin is essentially a melodic instrument intended to play a single line, but here, through the use of double-stops and incredibly ingenious part-writing, Bach presents two or more musical lines at once. The result is a compositional sleight of hand with the violin functioning as more than one part, sometimes supported by bass lines that it also supplies itself. The G minor Sonata demonstrates Bach’s ability to create music of the greatest imagination within quite a strict, formal structure: at its most expressive in the first and third movements (Adagio and Siciliana), at its most technically brilliant (and demanding) in the fugue, and at its most energetic and direct in the Presto finale.

Nigel Simeone © 2024 

BARTÓK Béla, Sonata for solo violin

Written for the renowned violinist Yehudi Menuhin, Hungarian composer Béla Bartók’s (1881-1945) Sonata for Solo Violin is widely considered one of the most challenging and expressive works for the instrument. It sits well in this programme, inspired, as it was, by Menhuin’s performance of Bach’s solo violin sonatas. Indeed, Bartók blends elements of the Baroque – the striking triple- and quadruple ‘stops’ of the opening, for example, in which the violinist plays three or four notes simultaneously – with the composer’s signature folk-inspired melodies; angular, sometimes discordant tunes drawn from the folk traditions of Eastern Europe, for which he is perhaps best known. The Sonata is in four movements: the intense and lyrical Tempo di ciaccona, the haunting Fuga, the delicate Melodia, and the virtuosic Presto. Each movement explores the violin’s capabilities, demanding both technical mastery and profound musicality.

BACH J.S., Partita No.1 for solo violin, BWV 1002

The Partitas are very different in terms of their structures. While each is, broadly speaking, a suite of dances, Bach treats this idea with considerable freedom. The First Partita presents four dances – Allemanda, Corrente, Sarabande and Tempo di borea (i.e. Bourée) – but each of them is followed by a ‘Double’, a kind of variation which Bach uses either to create contrast (as in the Allemanda and Corrente) or to intensify a particular mood, something he does to memorable effect in the Sarabande and its ‘double’, or to create still greater musical momentum, as in the Tempo di borea and its double.  

After Bach’s death, a few expert performers continued to play the Sonatas and Partitas from manuscript copies, notably Haydn’s friend Johann Peter Salomon. The whole collection was published for the first time in 1802. In the nineteenth century, Mendelssohn and Schumann both felt the need to ‘enhance’ Bach’s original by adding piano accompaniments. Joseph Joachim was perhaps the first great virtuoso since Salomon to present Bach’s Sonatas and Partitas in concerts, and even in the recording studio (some extraordinarily evocative records from 1903). Thanks to Joachim’s efforts and those of his successors such as Georges Enescu, the Sonatas and Partitas finally came to be recognised as creative pinnacles of the violin repertoire. 

Nigel Simeone © 2024 

About the Artists

Ensemble 360 musicians

Ensemble 360

Ensemble 360 has gained an enviable reputation across the UK for the quality and integrity of their performances. Formed in 2005, eleven musicians of international standing came together to take up residency in South Yorkshire with Music in the Round, establishing a versatile group comprising five string players, five wind players and a pianist.  Get a glimpse of them in performance here.

The Ensemble 360 musicians share a passion for the music which radiates through each performance. Their enthusiasm, drive and musicality captivate audiences both through the quality of their playing and their engaging spoken introductions. Due to the flexible nature of the group’s line-up the repertoire possibilities are enormous; anything from baroque duos, through classical quartets to new commissions for all eleven players.